Download Survey of French Harpsichord Music

SurveyofFrenchHarpsichordMusic
ThefirstimportantcomposerinFrancefortheharpsichordwasJacquesChampion
Chambonnières.Nearly150ofhispiecessurvive,someofwhichappearedinhis1670
publication.OnestylistictraitoftheFrenchcomposersthatisfoundfromthebeginningisstile
brisé,or“brokenstyle”.Thisarpeggiatedtexturewasborrowedfromcontemporarylutemusic.
ChambonnièrespromotedthecareerofLouisCouperin,who,apparentlyoutofloyaltytohis
mentor,refusedtheofferofhispostasjouerd’espinette(“royalharpsichordist”).Couperin
appearstohavebeenthefirstharpsichordcomposertowritepréludesnonmesuré
(“unmeasuredpreludes”),ofwhichhewrotesixteen,inrhythmicallyunmeasurednotation
whichlacksmeter,barlines,andrhythm(thoughsomelatercomposersdidaddsomerhythmic
values).Couperin(whodidnotpublishanypiecesduringhisshortlifetime)andJean-Henri
D’Anglebert(foursuitespublishedin1689)arethemostimportantofthissecondgenerationof
harpsichordcomposers,withElisabethJacquetdelaGuerre(1665-1729;harpsichordist,
composer),theprecociouschildprodigywhogrewuptopublishtwobooksofharpsichord
pieces(1687and1707)attheirheels.NicolasLebèguealsoproducedtwoengravedbooks
(1677and1687),but,accordingtoFuller,“Thepovertyofhisinventiondisappointsus;thereis
asamenessabouthispieces...”1JamesAnthonydescribesthesecomposers:
Althoughallsharedinthecreationofacommonlanguage,someindividualdifferencesare
worthnoting.LouisCouperinwascertainlythemostadventurousharmonically;
Chambonnières,thegreatestmelodist;Lebègue,themostacademicandpredictable;
D’Anglebert,themostdifficult;...andJacquetdeLaGuerre,themosteloquent.2
1
Fuller, “French Harpsichord Music,” 27.
James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, revised and expanded edition (Portland:
Amadeus Press, 1997), 299.
2
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MentionshouldbemadeofthetwomostimportantsourcesforFrenchharpsichordmusic
intheseventeenthcentury,theBauynandParvillemanuscripts.Gustafsonsummarizes:
TheBauynMShaslongbeenrecognizedasthecornerstoneoftherepertory.Itisthe
largestsinglesourceofseventeenth-centuryFrenchharpsichordmusic,containing345
piecesthatprovidereadingsofmorethanathirdofalltheextantseventeenth-century
Frenchworkswrittenoriginallyfortheharpsichord.ItistheonlysourceforhalfofLouis
Couperin’sharpsichordmusicandathirdofChambonnières’soutput.Itsmusicwaslargely
composednolaterthanthe1650’s(Chambonnièreswasalreadywellknowninthe1630’s
andCouperindiedin1661),butthedateofthemanuscriptitselfhasbeenverydifficultto
determine....Recentresearchshowsthatthemanufacturerofitspaperdidnotbeginhis
businessuntil1676.Asecondimportantmanuscript[,]...theParvilleMS,iscloselyrelated
toBauyninitsreadingsofthe79piecesthatthesourceshaveincommon....Parville
containstranscriptionsofworksfrom16ofLully’sdramaticworks,thelatestbeingAciset
Galathée(1686).Thisprovidesaterminuspostquemof1686forthemanuscript.3
Fullertellsusthat“thewholebodyofharpsichordmusicsurvivingfromseventeenthcenturyFrance,excludingthatpublishedinthenextcentury,amountstosomethinginthe
neighborhoodof500pieces.”4“Thesuitewas[essentially]theonlygenreofclassicFrench
harpsichordmusic,...”5notesGustafson,and“thesuitesinthepiècesdeclavecinpublished
between1670and1700rangefrom4to21movementsinlength;themajoritycomprise7or8
pieces.Ofthese26suites,morethanhalf(14)beginwithunmeasuredpreludes...andallbut2
haveanallemandeasthefirstdance.”6“Theindividualdancesareoverwhelminglybinaryin
form.”7
CarolHenryBatesdescribesthenextphaseinharpsichordpublications:
Theveryfirstdecadeoftheeighteenthcenturyopenedwithaflourish.Tencollectionsof
harpsichordpieceswerepublishedwithinthosetenyears.Thisremarkablyproductive
3
Gustafson, “France,” 121-122.
Fuller, “French Harpsichord Music,” 2.
5
Gustafson, “France,” 126.
6
Ibid.
7
Ibid., 127.
4
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periodbridgesthegapbetweenthe1689collectionofD’Anglebertandtheappearanceof
FrançoisCouperin’sfirstbookin1713.8
CharlesDieupart(?after1667-c.1740;harpsichordist,violinist,composer),whowasactive
mainlyinLondon,publishedSixsuittesinc.1701.Theyarethefirsttoactuallybecalled“suites,”
andhis“treatmentofthesuiteasaform,withafixednumberofmovementsinafixedorder,
waswithoutprecedentinFrenchharpsichordmusic,aswastheprefixingofanoverturetoeach
suite.”9LouisMarchand(twobookspublishedin1699and1702)wasafamouskeyboard
virtuoso.NicolasClérambault(1676-1749;organist,composer)(1704)andJean-François
Dandrieu(1682-1738;composer,organist)(threebooksinc.1704/1705,withthreemoreto
comelater)werefollowedbyGaspardLeRoux(1705),Jean-PhilippeRameau(1706),and
ElisabethJacquetdeLaGuerre(secondbook,1707).AninterestingfeatureofLeRoux’s
publicationistheinclusionformostofthepiecesofanalternativeperformanceoption,thatof
twotrebleinstrumentsandcontinuo.DavidFullersaysaboutDandrieu,“AfterCouperinand
Rameau,hewasthemostcelebratedFrenchharpsichordcomposerofthe18thcentury.”10This
openingspurtofharpsichordpublicationsstartedtheeighteenthcenturyonitswaytothe
morethan180titlesofprintedsoloharpsichordmusic(withorwithouttheaccompanimentof
violin)from1699to1780,asidentifiedbyGustafsonandFullerintheirACatalogueofFrench
HarpsichordMusic.
Jean-PhilippeRameauwouldlaterpublishtwomorebooks,in1724and1729or1730.
AccordingtoMarkKroll,“The1724collectionfeaturessomeofthemostvirtuosicand
8
Carol Henry Bates, “French Harpsichord Music in the First Decade of the 18th Century,” Journal of the American
Musicological Society 17, no. 1 (Spring, 1964): 184.
9
David Fuller, “Dieupart,” Grove Music Online ed. L. Macy (Accessed 9 June 2008), http://www.grovemusic.com.
10
David Fuller, “Dandrieu,” Grove Music Online ed. L. Macy (Accessed 10 June 2008),
http://www.grovemusic.com.
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progressivekeyboardwritinginthehistoryofFrenchharpsichordmusic.”11Cuthbert
Girdlestone,Rameau’sbiographer,elaborates:
“Two-thirdsofthe1724bookaregenrepieces,therestdances;theyaregroupedbykeys
butdonotformsuites.Thewritinglooksbothforwardandbackward.Somepiecesare
almostlute-like,withtheharmoniesspreadoutinarpeggios....Onthewholethewriting
isbasedonarpeggioformationratherthanonscalicmotion.”12
RegardingRameau’sthirdbook,Girdlestonenotesthatit“containssomeofhismost
ambitiouswriting.”13AllthreeharpsichordbookscameoutwellbeforeRameauwrotehisfirst
operain1733,thoughin1741hedidpublish“19piecesgroupedinfivesuites,or‘concerts,’for
harpsichord,violinorflute,andtenorviolorsecondviolin”,14calledPiècesdeclavecinen
concerts.“Theirremoteforebearswereharpsichordsuitestowhichwasaddedanoptional
violinpart;theirmoreimmediateoneswerethesixsonatasop.3byMondonville(1734),”15for
soloharpsichordorharpsichordwithviolinaccompaniment.
Rameau’soldercontemporary,FrançoisCouperin,isconsideredbymanytobethe
pinnacleoftheFrenchclavecinschool.Hisfourbooks,publishedin1713,1716-1717,1722,and
1730respectively,containtwenty-eightordres.JamesAnthonyremarks:
TheeffectofFrançoisCouperin’sfirstpublication,Piècesdeclavecin1713,waselectrifying.
...TheimpactofCouperin’sfourharpsichordbookscatapultedthegenrepiecetoa
positionofprominence....Significantly,therewasanappreciabledropinthenumberof
collectionspublishedbetweentheyearofCouperin’sBook1(1713)andhisBook4
(1730).16
11
Mark Kroll, “French Masters,” in Eighteenth-Century Keyboard Music, second edition, ed. by Robert L. Marshall
(New York: Routledge, 2003), 142.
12
Cuthbert Girdlestone, “Rameau,” Grove Music Online ed. L. Macy (Accessed 10 June 2008),
http://www.grovemusic.com.
13
Ibid.
14
Ibid.
15
Ibid.
16
Anthony, French Baroque Music, 316.
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Intheinterveningseventeenyearsonlythreeothercomposersseemedtodarepublishworks:
NicolasSiret(1663-1754;organist,composer)(1719);Rameau(1724,c.1729-30);Jean-François
Dandrieu(1724,1728).Conversely,inthenextdecadeafterthepublicationofCouperin’s
fourthbook,nofewerthanthirteencomposerscameoutwithnewpublicationsofsolo
harpsichordmusic.
MarkKrollattemptstosummarizethemusicofCouperin:
FrançoisCouperinrepresentstheultimateexpressionoftheartoftheFrenchharpsichord
tradition.Hismusicencompassesalltheelementsofthenationalstyleraisedtoan
unequaledlevelofrefinement.Couperin’sachievementtowersoverthoseofhis
predecessorsandsuccessors.Acknowledgedas“leGrand”inhisownlifetime,heenjoyed
themostesteemedreputationamonghiscontemporariesasaperformerandcomposer.
Couperinoccupiesacentralpositionbothchronologicallyandstylistically.Hiscareer
unfoldedatthemiddleofthe200-yeartraditionofclavecinistes.Hewaswitnesstothelast
twentyyearsofthereignofLouisXIVandtothebeginningofthegradualdissolutionofthe
Frenchabsolutemonarchy.Couperin’smusicwasnotonlyasynthesisofallthathadcome
before,itprofoundlyinfluencedallthatwouldfollow.CouperindrewupontheFrench
operaasepitomizedbyLully,uponItalianchambermusicandthesonatasof[Arcangelo]
Corelli[1653-1713;Italiancomposer,violinist],onthecommediadell’arteandthe
tragédieslyriques,Frenchfolksongs,andthepaintingsof[Jean-Antoine]Watteau[16841721].AllthesetraditionslefttheirimprintonCouperin’sharpsichordmusic,wherethey
wereimbuedwithdelicacy,passion,humanity,andbongoût.17
BesidesthepublicationsofCouperin,Dandrieu,andMondonvillealreadymentioned,
otherworksthatwehavetodaywhichappearedinthe1730’s,thedecadeofBernarddeBury’s
compositions,include:LouisAntoineDornel(c.1680-soonafter1756;organist,composer)
(1731);FrançoisDagincourt(1684-1758;composer,organist,harpsichordist)(1733);Durocher
(fl1733;organist,composer)(1733);PierreFevrier(1696-between1762and1779;organist,
composer)(1734);MichelCorrette(1709-1795;organist,teacher,composer-arranger,author)
(1734);Louis-ClaudeDaquin(1694-1772;organist,harpsichordist,composer)(1735);Charles
17
Kroll, “French Masters,” 137-138.
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Demars(1702-1774;organist,composer)(1735);JosephBodindeBoismortier(1689-1755;
composer)(1736);BernarddeBury(c.1736);Charles-AlexandreJollage(d1761;organist,
composer)(1738);JeanAdamGuilain(fl1702-1739;organist,harpsichordist,composer)(1739).
Fromthe1740’sandonintothe1780’s,publicationsofFrenchharpsichordmusic
continuedunabated.From1740-1770overadozenofthesewereforharpsichordaccompanied
byviolin.Thistrendwasespeciallypronouncedinthe1770’sand1780’swhenoversixtysuch
volumeswereprinted.Inaddition,manyofthetitlepagesduringthesedecadesindicatepourle
clavecin,oufortepiano,reflectingtheincreaseinproductionandpopularityofthepiano.
AsMarkKrollsummarizes,“Themostsignificantcomposersoftheperiod[aroundmidcentury]...wereJacquesDuphly[1715-1789;harpsichordist,composer],Claude[Bénigne]
Balbastre[1727-1799;organist,composer],andJosephNicolasPancraceRoyer[c.1705-1755;
composer,harpsichordist,organist,administrator].”18Duphly“publishedfourbooksof
harpsichordpieces(1744,1748,1758,1768)....Thevastmajorityofpiecesaredescriptiveor
dedicatory.”19Anthonyadds,“FrenchandItalianstyles,asexemplifiedbydancesand
descriptivepiecesontheonehandandsonatasontheother,co-existharmoniouslyinthefirst
twobooksbyDuphly....Thefirstbook...includesfifteenpieceswithsomemusical‘portraits’
andsometraditionaldances.”20AmongthestudentsofBalbastrewere“Marie-Antoinetteand
ThomasJefferson....HepublishedhisfirstbookofPiècesdeclavecinin1759.”21Theseworks
provideusoften“withgreatelegance[and]keyboardportraitsofminorpersonages...”22
18
Ibid., 146.
Ibid.
20
Anthony, French Baroque Music, 323.
21
Kroll, “French Masters,” 147.
22
Anthony, French Baroque Music, 323.
19
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Balbastrewrotewhatisbelievedtobethelastunmeasuredprelude,decadeslaterthanany
others.Royerpublishedonevolumeofharpsichordworksin1746,which“areamongthemost
attractiveintheliterature...”23They“derivefromtheelaborateandvirtuosicdescriptive
piecesfoundinearliercollectionsofDandrieu,Daquin,andCorretteandexhibitlittleItalian
influence.”24
DescribingFrenchharpsichordmusicoftheeighteenthcentury,JamesAnthonynotes:
Earlyeighteenth-centuryharpsichordcomposersgraduallymodifiedthestylebriséwith
morecontinuouspartwriting....Therondeaubecameincreasinglypopular....Sixtyout
ofover240compositionsbyCouperinareinthisform.Harmonically,Frencheighteenthcenturyharpsichordmusicremainedessentiallyconservative.25
Furthermore,“Theuseofmelodicsequenceasameansofexpandingmotivicmaterialbecame
muchmorecommonintheeighteenthcentury,reachingsuchproportionsintheRameauA
minorcourante[c.1729-30]...thattheentirepieceisbuiltoninterlockingsequences.”26David
Fullerinforms:
Theshiftofemphasisfromdancetonon-dancepiecesintheeighteenthcenturycollections
constitutesperhapsthechiefpointofcontrastbetweentheseventeenthandeighteenthcenturies.Thelargestcategoryofnon-dancepiecesisthatofthepieceswithtitles.Agreat
manydancepiecesalsohavetitles,tobesure,butthemajorityoftitledpiecescannotbe
identifiedasdances.27
ThisshiftagainreflectstheincredibleinfluenceofFrançoisCouperin:“[Beforethepublication
ofCouperin’sfirstbookin1713]...mostcollectionsshowamarkedpreferenceforanucleusof
allemande,courante,andsarabande,precededbyapreludeorovertureandfollowedata
23
Kroll, “French Masters,” 147.
Anthony, French Baroque Music, 323.
25
Ibid., 307.
26
Ibid., 308.
27
Fuller, “French Harpsichord Music,” 289.
24
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greaterorlesserdistancebyagigue.”28Fullercontinues:
Afewtitledcharacterpiecesarealsofound[beforeCouperin]...but...characterpieces
arerareinthisperiod.Notmorethanahalf-dozenoutofperhapsahundredpiecesbelong
tothiscategory.TheimpactofCouperin’sfirstbooksverynearlyeffectedamathematical
reversaloftheproportionwithinthespaceofafewyears.29
AsJamesAnthonywritesinFrenchBaroqueMusic,“Inevitably,Frenchharpsichordmusic
cametotermswiththeItalianinfluencesthatfloodedParisattheturnofthecenturyinthe
formofcantatasandsonatas...”30DavidTunleyexplainsthat“beforethe[seventeenth]
centurywasoutthetwocentres[ParisandVersailles],thoughonlyseventeenmilesfromeach
other,seemedworldsapart;onethebastionofconservatism,theotherforward-lookingand
cosmopolitan.Thus,itwasinParisthatItalianmusic...wasfostered.”31Moreover,“giventhe
Frenchpenchantforheateddebateitwasinevitablethatthemeritsandshortcomingsof
FrenchandItalianmusicwereendlesslyarguedintractandpamphlet.”32Someofthe
characteristicsofItalianmusicenumeratedbyDavidTunleyarethat:
Wovenintothemelodyare...thoseubiquitousmusicalfibres–scalesandbroken-chords
orarpeggios–whichprovidemuchofthe“filling”inbaroque(and,later,classical)music..
.
...ThepatternsofmanyanItalianmelodyareinextricablylinkedwiththeharmonic
progressionsoutlinedbythebassline...
...OnesuchharmonicprogressionfoundinabundanceinItalianbaroquemusicisthe
“cycleoffifths.”33
InsummarizingFrenchmusic,Tunleynotesthat“theveryconservativenatureoftheclassical
FrenchstylelinksitmoretoRenaissancepracticeinwhichitisthemelodythatdirectsthe
28
Ibid., 237.
Ibid., 238.
30
Anthony, French Baroque Music, 307.
31
David Tunley, François Couperin and ‘The Perfection of Music’ (Burlington, VT: Ashgate Publishing Company,
2004), 41.
32
Ibid., 43.
33
Ibid., 44.
29
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harmony,takingitintoprogressionsthatdonotnecessarilygeneratethekindoftonality
associatedwithItalianbaroquemusic.”34
FrançoisCouperinmakesanumberofcommentsabouttheItalianstyle.Forexample,he
writesintheprefacetoLesGoûtsréunisandNouveauxconcerts(1724):
ItalianandFrenchstyleshaveforalongtime(inFrance)sharedtheRepublicofMusic;for
mypart,Ihavealwaysesteemedthosethingswhichhavemerit,withoutdistinctionof
authorornation;andthefirstItaliansonataswhichappearedinParismorethanthirty
yearsago...didnodisservicetomymind,eithertotheworksofLullyortothoseofmy
forebears,whowillalwaysbeasadmirableastheyareinimitable.35
Infact,hisstatementthat“...thebringingtogetherofFrenchandItalianstylesmustcreate
musicalperfection,”36(L’Apothéosecomposéàlamémoiredel’incomparableMonsieurdeLully,
1725)servedastheinspirationforthetitleofTunley’sbook,FrançoisCouperinand‘The
PerfectionofMusic.’CouperinalsogivescluesastocharacteristicsofItalianmusicinhis1716
L’artdetoucherleclavecin:“Regardingbrokenchordsorarpeggios...whoseorigincomes
fromthe(Italian)Sonatas,myopinionwouldbethatthenumberofthemplayedonthe
harpsichordshouldbealittlerestricted.Thisinstrumenthasitsownpropertiesastheviolin
[favoredinstrumentinItaly]hasitsown.”37HethusassociatesarpeggioswithviolinisticItalian
figures.
DiscussionofmorecharacteristicsofFrenchandItalianmusiccanbefoundin:the1702
essayofAbbéFrançoisRaguenet(c.1660-1722;priest,physician,historian),anonymously
translatedas“AComparisonbetweentheFrenchandItalianMusicandOperas”;the1704
34
Ibid., 46.
François Couperin, Goûts Réunis, reprint of original edition published 1724 and 1725, Paris: Chez l’auteur
(Geneva: Minkoff Reprint, 1979) as quoted in Tunley, Perfection, 143.
36
Ibid., ii.
37
Couperin, L’art de toucher, 46.
35
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responsebyJeanLaurentLeCerfdelaViéville(1674-1707;LordofFreneuseandKeeperofthe
SealsfortheparliamentofNormandy)translatedbyMargaretMurataas“Comparisonbetween
ItalianandFrenchMusic”;the1752treatisebyJohannJoachimQuantztranslatedbyEdward
ReillyasOnPlayingtheFlute.LeCerf,speakingofFrancesays,“Herewehaveonlycommon
harmonies.Sobeit.Providedthattheseharmoniesarenotatalldefectiveanddonotdisfigure
thebeautyoftheexpression,thelistenercouldwantnomore.”38Thisisincontrasttothe
Italians,ofwhomRaguenetsays:
...venturetheboldestcadences,andthemostirregulardissonances...[Thepassages
have]suchirregulartonesasshallinstillaterroraswellassurprize[sic]intothelistener,
whowillimmediatelyconclude,thatthewholeconcertisdegeneratingintoadreadful
dissonance....TheItaliansventureatev’ry[sic]thingthatisharsh...”39
Raguenetalsonotes,“Ifyouwouldhittheirpalate,youmustregaleitwithvariety,andbe
continuallypassingfromonekeytoanother...”40
QuantzdevotesconsiderationspaceinhistreatisetothecharacteristicsofItalianand
Frenchmusicandtoacomparisonofthetwostyles.SpeakingoftheFrenchhewrites,“The
instrumentalists,especiallythekeyboardplayers,donotordinarilydevotethemselvestothe
performanceofdifficultfeats...”41Helaterconfirms,“They[theItalians]writemoreforthe
connoisseurthanfortheamateur...They[theFrench]writemorefortheamateurthanfor
theconnoisseur.42Speakingofvocalmusic,heexplains,“TheFrenchmannerofsingingisnot
38
Jean Laurent Le Cerf de la Viéville, “Comparison between Italian and French Music,” from a trans. by Margaret
Murata, in Strunk’s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised
edition ed. by Leo Treitler (New York: W.W. Norton and Company, Inc., 1998), 681.
39
François Raguenet, anonymous translation, “A Comparison between the French and Italian Music and Operas,” in
Strunk’s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised edition ed. by
Leo Treitler (New York: W.W Norton and Company, Inc., 1998), 675.
40
Ibid., 676.
41
Quantz, Flute, 328.
42
Ibid., 334.
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designed,liketheItalian,totraingreatvirtuosos.”43“Inaword,”heconcludes,“Italianmusicis
arbitrary,andFrenchiscircumscribed.Ifitistohaveagoodeffect,theFrenchdependsmore
uponthecompositionthantheperformance,whiletheItaliandependsupontheperformance
almostasmuchasuponthecomposition,andinsomecasesalmostmore.”44Quantzalso
addressestheharmonicpracticesoftheItaliancomposers:“Theytaketoomuchlibertyin
harmonicprogression.”45Incontrast,“[TheFrench]preferdiatonicratherthanchromatic
progressions.”46Healsoalludestothemultitudeofrunningsixteenth-notepassagesthatcanbe
foundinmanyanItalianscore,“IntheAllegrotheyconsiderthesawingoutofamultitudeof
notesinasinglebow-stroketobesomespecialachievement.”47Speakingofvocalmusic,he
comments,“Thosesingers...oughttodevotetheirtime...[to]singingtastefullyand
expressively,insteadofmartyringthemselveswithpassageworkinordertobefashionable.”48
Thus,ItalianmusiccharacteristicsviedwithFrenchtraits.Tosummarize(includingsome
personalobservationsnotyetmentioned),theFrench:esteemthecomposermorethanthe
performer;useamorecontrolled,disciplinedstyle;prefertheharpsichord(alongwiththeflute,
violadagamba,andoboe);writemelodiesbasedonshortmotivicunits;usethecommon
diatonicharmoniclanguage;eschewfancypassagework;usemanysymbolizedornamentsigns;
writefrequentchangesinthenumbersofvoicesleadingtochangingtextures;makeuseof
notesinégales.TheItalians:esteemtheperformermorethanthecomposer;prefertheviolin;
writemelodiesbasedonharmonicprogressionsandthususemanyarpeggiatedviolinistic
43
Ibid., 328.
Ibid., 335.
45
Ibid., 326.
46
Ibid., 329.
47
Ibid., 326.
48
Ibid., 331.
44
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figures;writeboldandharshdissonances,frequentmodulations,andusecircleoffifths
progressions;includeimitationnoticeablyoften;writemanysixteenth-notepassagesections;
expectperformerstoadddivisions;havemoreconsistenttexture;donotusenotesinégales.
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